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This ‘mono-block porcelain chair’ by Sam Durant, built by Jiao Zhi studio, Xiamen, china (2006), as with the other chairs, interest me as far as the artist outsource the production of this visionary concept. I do think that ceramic artists must embrace these opportunities. By not choosing the traditional self-made option, a talented artist can add more value to his or her ideas, by saving on time to master the complexities involved in making these chairs.

Visit www.designboom.com for this interesting post.

The text from Sadie Cole’s website below relates to why an artist would like to express himself in this way and why it is important. It is not really about what he made here, but to what he makes happen, the object confronts you and it questions it’s own existence. The historical relevance of this object will make it collectible and traceable to a point and time in our history.

“Sam Durant’s series of sculptures replicates mass-produced plastic lawn chairs in fine Chinese porcelain,inviting the viewer to consider the aesthetic value of one of the world’s most democratic objects.
By remaking cheap garden furniture, often mass-produced in china, into one-off, handmade, high-end goods,Durant’s sculptures form an ironic comment on the condition of globalisation.

They pose many questions about the nature of mass consumption, the stereotyped saturation of the markets with cheap Chinese goods, and the impact of emergent industries on native and foreign cultures.”